|Sheryl J. Anderson|

Sheryl J. Anderson is the Showrunner on the Netflix series, Sweet Magnolias. The streamer categorized the beloved show as “Heartfelt, emotional, and feel good” – ingredients that many outlets like to chase.

Sheryl is one classy dame. I had the good fortune to develop with her many moons ago and she’s all the things you hope for: Collaborative, smart, creative, respectful and intuitive.

And now with four seasons of a beloved show under her Netflix belt (and a possible fifth season coming), she generously took out time to do this q&a.

She teased some new development on the horizon, shared how to very smartly pitch and where she was headed on her next vacation. 

RS: When was the moment you knew you could write for a living?

SA: I felt that way briefly last week. I hope to feel that way again in another week or two.

RS: Did you come into the industry with any connections or did you initially fly blind?

SA: A friend of mine from college had come out here a couple of years before I did. She was my guide, but we were both learning as we went.

RS: Do you have a favorite mentor? If so, who and why are they (amongst) your favorite?

SA: I didn’t have a writing mentor (which is why I mentor now), but my first bosses in television were Rob Kaplan and Grant Tinker. They led by example, and taught me that being good to people encourages them to do their best work. And Grant said, “Hire the best people, then get out of their way,” which I try to do to this day.

RS: What’s the best and worst advice you’ve ever received?

SA: The best advice: See Grant Tinker, above. The worst advice: “It won’t bump them.” It always does.

RS: Describe some writer-y pet peeves you have.

SA: I insist on good grammar, proofreading, and the Oxford comma. I also believe “that” should be used only when absolutely necessary.

RS: When first working on a project, how do you begin your process?

SA: It varies, but most of the time, it’s some variation on “What if…?” “What if I were in this situation?” “What if this character and this character were in conflict?” I like to identify the central conflict and the core characters as soon as possible, though I know there’s an excellent chance all of that will shift as I dig more deeply.

RS: What would you consider your strengths as a writer? What do you struggle with?

SA: I believe characters and dialogue are my strengths. My producing director recently complimented me on the musicality of my writing, and I cherish that. My biggest struggle is with the opening scene of a new script; with apologies to William Carlos Williams, so much depends on that first line from that first character in that first scene.

RS: On your show Sweet Magnolias, how have you moved the needle when it comes to diversity – in front of and behind the camera?

SA: In my first discussions with my fellow executive producers I told them I was committed to a diverse cast; they agreed. So when we were hiring behind the camera, I again emphasized seeking out diverse candidates and, in particular, advocated for female department heads.

RS: More times than not, do you feel the pressure to take studio or network notes literally or are you at a place in your career where you feel trusted to hear the spirit of the note?

SA: I am at a place in my career where experience has taught me there is often “a note behind the note,” and I’ll ask more questions until I’m clear on the true meaning of the note.

Then I’m better positioned to offer the options I have to address it. One of the things I love most about working with our executives at Netflix is their willingness to discuss notes and to listen meaningfully to my concerns in return.

RS: What’s the hardest note to receive from an executive?

SA: “This doesn’t work for me.” Specific feedback leads to quicker, better resolutions of the places where we aren’t in sync.

RS: We’ve all had bad experiences at one time or another. What is one that you were able to spin into a positive?

SA: I’ve been on toxic shows where I met remarkable people and learned a lot about how not to run a show.

RS: What did DAY ONE in the writer’s room of Sweet Magnolias look like? How different do these days look – from the start of production on S1 to S2.

SA: I think we got more goodies on Day One of Season One. Otherwise, the beginning of both seasons was a week or so of talking through stories we’d like to tell in the course of the season and how those stories might arc out. Lots of blue skies and broad strokes before we dove into specific breaks.

RS: For staffing, are you looking at the writer as a whole, or are you looking to assemble a room where the writers complement each other’s strengths? I.E. One is great with story, one with character, one with dialogue?

SA: I look at the writer as a whole, because they are going to be responsible for an entire draft. Sure, some people have noticeable strengths, but I’m looking for well-rounded people whose samples feature memorable characters in emotionally dynamic stories.

RS: Are all of the writers the original staff or did you have to make adjustments?

SA: Two writers from Season 1 moved to other projects between seasons, so I hired two new writers for Season 2 (for a room of four writers plus me).

RS: When do you know a writer isn’t a good fit on a show you’re running? What are the signs?

SA: I don’t like naysayers: I tell my writers they can’t say “no” to someone else’s pitch unless they have a fix for the problem. I don’t like lecturers – the writers who feel they must stop the momentum to “teach” everyone something. And, obviously, missing deadlines is a huge problem.

RS: Communication is key when in production, but more times than not, people struggle with it. Have there been instances where you’ve struggled?

SA: If you never answer in the heat of the moment, communication tends to be clearer and more productive. It’s amazing what taking a deep breath and a short walk can do to temper an answer.

It’s also important to let the other individual express the entirety of their concern before you jump in, cut them off, and try to “solve” a problem you may not fully understand yet.

RS: What do you enjoy more… being in a writer’s room or being on set?

SA: You’re asking me whether I like being in the kitchen or in the dining room, when what I really like to do is eat. I love the room because of the thrill of creating something with people I adore and respect. I love the set because of the thrill of seeing that something be brought to life by people I adore and respect.

In either place, I am there to make sure people feel supported, inspired, and appreciated. My biggest responsibility is that everyone feel safe, heard, and respected, and to help fix the problem if they don’t (the mantra I share, in the room and on the set, the first day of every season).

RS: What are some hard lessons you learned early on in your career?

SA: I thought “the work will speak for itself.” It doesn’t. You have to stand up for your work – and for yourself.

I have also learned, less early on, a certain personality type will take politeness as a sign of weakness. So, again: You have to stand up for your work and for yourself.

RS: You’ve written some mystery novels. Do you think you’ll ever adapt them for the screen?

SA: I think about it from time to time. We’ll see.

RS: If you had a vision board, what would be on it?

SA: Costume and production sketches for my next show.

RS: Do you have a favorite spot to write (when in development mode)?

SA: My living room couch. (I sit at my desk when I’m in work mode, because I daydream less there: The chair is less comfortable than the couch.)

RS: When you are pitching/selling, do you have an instinct in regard to how little or how much to include in a pitch?

SA: I find that balance varies from producer to producer. I think I have good instincts, but I’m always ready to revise. The goal is to have the buyer lean in because their appetite is whetted, not push back from the table because they’re full and don’t want anymore.

RS: What’s your favorite genre to write in?

Family drama – whether it’s framed in a procedural, the supernatural, or “everyday” life.

RS: What’s a favorite book that you wish you could or could have adapt(ed)?

SA: Now you’re asking me to reveal my development slate!

RS: Your ideal vacation?

SA: Traveling with my kids and my brother. We have a wish list ready for when the world opens back up; it ranges from the Bourbon Trail to our ancestral castle in Scotland, with loads of marvelous places in between.

And there you have it… Wisdom from the incredibly special Sheryl J. Anderson.

My Favorite Take-Aways:

• “Hire the best people, then get out of their way.”

I love this. The best people are most likely smarter than you in their department and that’s what you want.

• Discovering (as Sheryl puts it) “A note behind the note” when Executives give thoughts on outlines and drafts and story ideas.

There is not an exact science to note giving. It can be messy and uncomfortable for those giving the notes. It takes patience and empathy on both sides. Communication and clarity are two key elements that are absolutely necessary in the process, but more times than not, the executives are targeting a place in the script they feel isn’t working, but it turns out you might just need to massage a place earlier or later in the story.

And sometimes executives are fearful of giving too many notes or being too honest when they think a script is beyond repair and not going to make it over the finish line (of the development process). In those instances, they end up giving pithy notes to work on, which is not the best policy. Let’s hope those days of unnecessary notes are over.

• On Staffing: Sheryl says, “I look at the writer as a whole, because they are going to be responsible for an entire draft.”

There was a time, especially in comedy, where you’d have different types of writers peppering a writer’s room with various strengths. I.e., writers good with jokes, those better with story or some best with character. Today, you really do have to have the whole package, especially now that rooms are so much smaller.

• When it comes to the work, Sheryl says, “You have to stand up for your work – and for yourself.”

If you’re adamant about keeping a storyline in tact or dead set on your character’s arc in a season, you need to articulate why you’re so passionate about keeping it as is or why you’re opposed to making changes. I found more times than not, you’ll get the support you need, but may have to compromise a bit.

But I’d also add this: pick and choose your battles. This is a collaborative sport. No one wants to make a dud. Everyone is invested in making the best possible show. If you demonstrate you’re collaborative, executives (both studios and networks) will want to work with you again and again. Wait until you have some success and then you can be more prickly about what notes you want to take and those you don’t. Or not any at all.

• And possibly my favorite take-away is in regard to pitching. Sheryl says, “The goal is to have the buyer lean in because their appetite is whetted, not push back from the table because they’re full and don’t want anymore.”

Oh, how I’ve read this line over and over and had so wished I knew Sheryl when I was first starting out on the selling side. It’s a lesson I’m not sure I ever learned. My tendency was to cover everything, when in fact, you want the buyers to be excited to hear more. So… Don’t spoon feed them everything. A pitch is a tease. That said, you should always be prepared and confident that you know your show and can answer questions as it pertains to the overall scope of the world and where you’re characters are headed in series.

BIO: 

Sheryl J. Anderson is the showrunner of Sweet Magnolias, a romantic drama for Netflix that just wrapped production on Season Two, and has a variety of projects in development. She began her writing journey as a playwriting major at The College of William & Mary. Lured to Los Angeles by the intrigue of television and the promise of 300 sunny days a year, she worked as a television studio executive, screenwriter, and half-hour series writer (Parker Lewis Can’t Lose, Dave’s World). She then moved to writing and producing hour-long series, working on a wide range of series (Charmed, Flash Gordon, When Calls the Heart). She has sold pilots to Disney, SyFy, NBC, and Lifetime, and written movies for Hallmark, UPtv, and Lifetime.  Sheryl also teaches and mentors through a variety of universities and organizations.